ABSTRACT

THESIS SYNOPSIS
JOVERIA KHALID 016 BCA – VIII
FATIMAH JINNAH WOMEN UNIVERSITY - RAWALPINDI
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Table of Contents
/TITLE…….…………….………………………………………. 2 ABSTRACT…………………………………………………………………….……....…2 1. THESIS TATEMENT / TITLE………………………………………………………..3 2.LITERATURE REVIEW………………………………………………………...……..4 2.1 HISTORICAL BACKGROUND OF STAINED GLASS……………………………4 2.1.1 Ancient Origins……………………………………………………………..4 2.1.2 Romanesque Period, 12th Century……………………………………….…4 2.1.3 Gothic Period, 13th - 14th Century…………………………………….……4 2.1.4 Late Gothic - Renaissance, 15th - 17th Century……..…………….….…….4 2.1.5 Decline And Destruction…………………………………………….………4 2.2 AIMS AND OBJECTIVE………………………………………………………..……5 2.2.1 Apparels………………………………………………………………….….5 2.2.2 Textiles…………………………………………………………………...….5 2.2.3 Screen-Printing……………………………………………………….……..5 2.2.4 Social Impact Of Imagery On The Fabric And The Target Market………...5 2.2.5 General Color Concepts Of The Concerned Class………………………….5 2.2.6 Color Theory……………………………………………………………..…6 3. METHODOLOGY……………………………………………………………………..7 3.1 EXECUTION PLAN………………..…………………….……………..……………7 3.1.1 Story boarding…………………………………….…………………………7 3.1.1.b Hand painted storyboards ...………………………………………………7 3.1.2 Design Developments………………………………………….……………7 3.1.2.a Direct inspiration method…………………………………...……………..7 3.1.2.b Cropping method…………………………………………….……………7 3.1.2.c Composite method………………………………………..……………….8 3.1.3 Developing the screens from negatives…………….……………………….8 3.1.4 Taking the design onto the fabric………………….………………………..8 3.1.5 Requirement of the fabric………………………….………………………..8 3.2 NON-FUNCTIONAL REQUIREMENTS………………...………………………….8 3.3 SUGGESTION FOR SUPERVISOR…………………….…………………..……….8
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ABSTRACT
This particular report is being made for the development of textile designs with Scottish stained glass being the source of inspiration. These designs will exclusively be designed keeping the showbiz people in mind along with the elite class, as the designs will turn out to be daring, bold and loud. In the following pages all information regarding the Scottish stained glass and the design procedures along with the methodology that will be adopted during the process is provided.
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1. THESIS STATEMENT / TITLE “ Study and development of textiles designs based on Scottish stained glass for Sarees, Stoles, Shawls and shoes etc. catering for and targeting specifically the elite and showbiz class”
2.LITERATURE REVIEW
2.1 HISTORICAL BACKGROUND OF STAINED GLASS
2.1.1 Ancient Origins Wealthy Romans in their villas and palaces first used stained glass in the first century A.D. At this time stained glass was considered a domestic luxury rather than an artistic medium. It began to be regarded as an art form when Constantine first permitted Christians to worship openly in 313 A.D., as they began to build churches based on Byzantine models. The earliest surviving example of pictorial stained glass is a Head of Christ from the tenth century excavated from Lorsch Abbey in Germany. 2.1.2 Romanesque Period, 12th Century As the demand for churches increased so did the production of decorative stained glass windows. The linear patterning, abstraction and severe frontality influenced early Romanesque style stained glass. 2.1.3 Gothic Period, 13th - 14th Century With the advent of Gothic architecture, stained glass flourished as the expansion of immense window spaces in Gothic cathedrals demanded a new approach to the medium. Red and blue remain the predominant color choice and the tendency to fuse white glass in the composition allowing for more light gives way to completely filling up
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of space with ornate designs consisting of darker glass. A wide variety of geometrical shapes emerge as narrative becomes more important and complex juxtaposition of events is recorded in compartmental sequences. Decorative borders and foliage become more formalized and intricate while experimentation with more naturalistic and volumetric forms appears in figurative work. 2.1.4 Late Gothic - Renaissance, 15th - 17th Century Artists arose from obscurity and began to be patronized by a new wealthy mercantile class. Individual artists were sought out across regional boundaries for specific skills and traits. Glasswork was no longer anonymous and begins to be attributed to specific artists and workshops. 2.1.5 Decline And Destruction Political upheavals and religious unrest jeopardized the survival of stained glass beginning in the sixteenth century, making decline and destruction eminent.
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2.2 AIMS AND OBJECTIVE The aims and objective will be to explore the color and design options that can be made available in apparels, particularly in Sarees and their blouses so as to make the outfit emerge with a newer face so as to make it more appealing to its audience and target market. 2.2.1 Apparels The reason why feminine apparels; Sarees have been selected to work on is that they allow a wider range to work with and to experiment with in the contemporary times. As it is that the source of inspiration is the Scottish stained glass works, which are full of figurative imagery with vibrant and festive colors, which can be carried out by a woman more beautifully than any other given option. 2.2.2 Textiles The word textile is derived from the Latin word „texere‟, which means, “to weave”; this term is applied to woven fabric. Textiles in the modern times is a very wide spread term that can be applied to natural as well as synthetic yarns. 2.2.3 Screen-Printing Screen-printing is the main source of imprinting or transferring designs onto fabric. When printing of the designs on fabric is done on a large industrial scale it is in majority of the cases done by a method called Rotary printing. But as this thesis is going to be done on a smaller scale, so screen-printing will be the method adopted for the purpose of executing the designs onto the fabric. 2.2.4 Social Impact Of Imagery On The Fabric And The Target Market The Scottish stained glass has images of the biblical stories on them. The designs for the apparels will be derived by these images. That of course means that the imagery on the fabric will also be in some cases of this sort of imagery. The paintings, accentuated by the lead lines, have great simplicity and strength, with a powerful sense of movement. The reason why the elite class and the showbiz women have been targeted to cater for is that these women are more aware of their inner self. As compared to middle class housewives, they are more exposed to their social surrounding because of which they are in a constant need of newer outlook. Which is the reason why they are more willing to experiment more and thus the women of the concerned class are more open to newer ideas and innovations. 2.2.5 General Color Concepts Of The Concerned Class There are hardly any or no reservations about the colors that the women of the concerned class wear. As mentioned earlier, due to the openness of views and ideas of the target class, there are no apprehensions about the colors that will be used for the execution of the designs on the fabrics.
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2.2.6 Color Theory The colors that are eminently seen on the Scottish stained glass works are usually brilliant, vibrant and darker shades. The colors are deep and very little white glass is used, since too much light would have destroyed the harmony of the darker colors. The colors that are predominantly seen on the glass windows are:         Gold – Sophistication, glamour, profligacy and extravagance. Black – Mystery, for the unseen and the hidden. Red – Passion, strength, social power, danger and seduction. Blue – Calmness, honor, faith, trust confidence and belief. Green – Nature, character, personality, poise and escalation. Yellow – Sunshine and Freshness, joy, optimism and bliss. Magenta – Spirituality and security. Orange – Tenderness, vivacity, vitality and verve.
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3. METHODOLOGY
The observation that has led me to the point where I can confidently say that sarees is indeed a much appreciated and admired dress in Pakistan amongst the elite class but is not seen with a lot of variety. It is the same old sleeveless blouse with either a single color or multi shaded silk fabric or the most an embroyded seven yards of fabric that is stitched into the seven falls and wrapped around as a costume or a dress. What is being proposed to be done here is that a wider range of options is intended to be provided so as to explore the variety that can be brought about in the costume in terms of design. The option being bright, colorful biblical patterns being introduced onto the seven yards of fabric.
3.1 EXECUTION PLAN
3.1.1 Story boarding In textile design, when the source of inspiration has been selected, the fore most steps that are taken are to develop a storyboard. There are two types of storyboards that are prepared. 3.1.1.a Printed images storyboards First of all this type of a storyboard is made in which the already available images of the source of inspiration are collected from after research from places like the internet on the computer and getting prints, books, magazines photographs etc. and put together on large sheets of chart paper for reference. 3.1.1.b Hand painted storyboards The 2nd type of storyboard that is made is the hand drawn or the hand painted one. Picking forms, shapes and designs from the 1st storyboard makes this. 3.1.2 Design Developments The designs that will be developed will have a main design, along with two to three coordinates. There are three methods that will be adopted to derive the designs from the storyboards. 3.1.2.a Direct inspiration method This is the method, which will be mostly used for the design developments. In this method, the design is directly picked from the storyboard with few changes in the basic available design. 3.1.2.b Cropping method This is the method, in which the design is picked from the storyboard and made onto another sheet enlarging is two to three times, and then cropping
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it and again enlarging it. This is done three or four times for the more intricate designs. This will result in new and interesting design layouts.
3.1.2.c Composite method This is the method, in which butter paper is used to derive design by a composition of different designs available on the storyboard. 3.1.3 Developing the screens from the negatives After the designs have been developed their negatives will be made so that the screens can be prepared. It is intended to make designs with up to seven screens. The screens will be exposed on the premises of the university 3.1.4 Taking the design onto the fabric The screens will be run onto the fabric with color pigments. This execution will also be done on the premises of the university, in the fine arts departments. 3.1.5 Requirement of the fabric Each of the designs that will be executed will be done on seven yards of fabric, including the blouse.
3.2 NON-FUNCTIONAL REQUIREMENTS.
The Non-Functional requirements will include the usage of the following software‟s for advanced designing:  Corel Draw – versions: 9.0, 11.0, and 12.0  Adobe‟ Photoshop – versions: 7.0 and Adobe‟ Creative Sweet  Screens – (frames and meshes)  Blocks  Adda for Silk Painting and Sequencing
3.3 SUGGESTION FOR SUPERVISOR
Ms. Umbreen Afzal Or Ms. Mehr–Un–Nisa
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